Break Up approaches objective history through a personal narrative, while the work also gives a glimpse into Hajdinaj’s deep interest to reuse found objects and visual materials throughout his oeuvre. He focuses on a picture frame in which his grandmother has been keeping family photos for decades. With the simple act of unframing these photos, layers of official and personal histories meet, as a distributed propaganda photograph of the former dictator Enver Hoxha, shot between the end of the 1960s and the beginning of 1970s, appears: the moment of dismantling becomes a moment of historic inquiry. Hajdinaj analyses how the photo of a country leader was shaped by the context of ordinary life. At the same time, by the symbolic act of separating the photos, Hajdinaj rehabilitates the memory of his family members. BK